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tv   [untitled]    November 14, 2011 8:30am-9:00am PST

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so we're doing the best we can to get it to what the 1998 permit said it should be. but we'll industrial to pull it back off the property line and the property lines were drawn inaccurately in 1998 and the permit was issued without a variance, yada, yada, yada. anyway. i think the draft e.r. memo i provided to you covers what commission eer sugaya's intent would be. commissioner miguel: commissioner moore? commissioner moore: that is the second on commissioner sugaya's motion. i would like to clarify for the commissioner antonini, once architect morris is no longer under contract with the yee family, his work cannot be used as the basis for approval because he will not be the architect of record. just because you paid for the
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initial service of the sketch does not entail a legal obligation for us because he is not the architect of record anymore. i would going to say that the number of people which was attended to assist the applicant in this case and them all having disappeared as unnecessarily added to my level of confidence that we have really anything which we can resolve. i think the fact that we have spent considerable amount of time continuing the project and expressing support for everybody to work with each other and have incredible professionals who have done work and is one of the commissioner and have projects approved tells mes that that there is something amiss here. i am in strong support of the motion as it stands. commissioner miguel: i would be in support of the motion also. i appreciate mr. carey's orig
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original and present involvement in this. i was very aware and involved in some of the proceedings surrounding the sink hole incident. and was in intimate contact with many of the property owners that were affected during that incident. and it caused a lot of problems for many property owners, without question. but this is an instance where i thought the commission was very absolute in saying either work it out or we will. and this is unfortunate in my mind that we are having to say this more often. and parties haven't had -- and the parties have had enough time to really sit down and work out any problems and they have failed to do so and we're going to have to do it. commissioner antonini? commissioner antonini: can i talk to prect sponsor's
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representative for a second please? well, i am not happy with this result as nobody is probably because we still don't know what we're ending up with and will end up with a structure that might be reverting back to what it was before or under the plans that were approved which is probably going to be unsatisfactory. would you clients be willing to work with either with mr. morris or another architect to come up with a design that would be mr. acceptable? >> mr. morris is still working with the compliants. commissioner antonini: all right. i did put in a call to him and he did call me back and i did not have time to return the call. he is still as the architect of record. >> absolutely. >> in that case i am going to make a motion to continue -- >> we have a motion -- >> to continue -- >> the motion to continue is this. this is the potential of coming back again and again and even if we were to take staff's motion because there probably will be
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some other project in the future or there will be something sitting there that is not attractive. and i would like to see this contin continued when we could have mr. morris here and have a definite plan for what it is. and i never had a problem and nor did the commission so much with the plan in may but rather with the procedure and with the work done without benefit of a permit. and i don't really ever see the impact to d.r. requester and i don't see it today other than the fact it that's overgrown and there is some problems with the property. so i would move to continue. commissioner miguel: is there a second? commissioner antonini: we need a date, i guess. secretary avery: do you have a date? commissioner antonini: it would have to be then. secretary avery: and on the 19th we are proposing a joint hearing with rec park for 18 washington and downtown park fund and some other heavy items. i would not put this on the 19th.
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commissioner antonini: january 26. commissioner miguel: is there a second to the motion? the motion fails for lack of a second. secretary avery: commissioners -- pardon? i have going to call the question. commissioner miguel: i just want to make a comment. and i might have supported that motion had the architect been here. but i think the fact that the project sponsor is not even bringing their architect after all this speaks volumes. >> appreciate the comment. secretary avery: the motion on the floor is to take d.r. and approve the project per the recommendation on the draft submitted by staff. commissioner antonini? >> no. >> commissioner borden? >> aye. >> commissioner fong? >> aye. >> commissioner moore? >> aye.
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>> commissioner miguel? secretary avery: that motion passed 5-1 with commissioner antonini voting against and on the variance. >> and to close the public hearing of the item and i was not at the hearing on may 19 and kelly under was acting and i did restrew tape and was -- i did review the tape and am prepared to make a decision on that to grant the rear yard variance to tex tent that is required for the 1998 permit and with the design for the scope beyond the 1998 permit and to wrap up about what happens next. and your decision will be final and we would ask them to submitted revised plans and they can appeal that to the board of appeals and pursue enforcement action if they fail to respond. make to make clear what will happen next.
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commissioner miguel: thank you very much. i appreciate putting that to the record. commissioner miguel: is there any general public comment on items that are not on the agenda? none appearing, public comment is closed. and it's 4:13. we're finished. >> amazing. >> yes.
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>> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began 20 years ago.
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>> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to
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include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was
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done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash.
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i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a
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book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for
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understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to
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2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food. sometimes we have gains and
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bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪


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